French's  International  Copyrighted  (in  England,  her 

Colonies,  and  the  United  States)    Edition  of 

THE  Works  of  the  Best  Authors. 

|j  No.  407  I 

^S  rn       ■_     ,  ■  ■  ■  ■■  .  .  .  ■      ,  ■■  ,  — ^ 

11  s 

|l  The  Mysterious  Will  | 

ii  ^A/"  O:\IGINAL  PLAYLET  5 

^i  IN  ONE  ACT  i 

|i  I 

BY  5 

h^j     S  HAROLD  SELMAN 

r 

> 

*  Copyright,  1914,  by  Harold  Selman 
|T)      S  Under  the  title  of  "AT  2  A.M." 

^      9  Copyright,  1921,  by  Samuel  French  '% 

t-^       %  'All  Rights  Reserved  % 

^      K  X 

O        •?      CAUTION:      Professioanls    and    amateurs    are    hereby    warned    that  X 

]Li        K  "THE    MYSTERIOUS    WILL,"    beinR    fully    protected    under    the  % 

PJ        K  copyright    laws    of  the    United    States    of   America,   is    subject    to  % 

M        If  a   royalty,   and   anyone   presenting   the  play   without    the   consent  % 

g  of   the   owners   or   their   authorized    agtnts   will   be    liable    to    the  3* 

g  penalties  by   law  provided.     Applications    for   the   professional  and  % 

5  amateur  acting  rights  must  be  made   to  Samuel  French,  25  West  X 

•  45th   Street,   New  York,  N.   Y.  jj 

S  X 

I 

i 

SAMUEL  FRENCH,  Ltd.  J 

26  Southampton  Street  % 

STRAND,  W.C.2  % 


PRICE  30  CENTS 


New  York 
SAMUEL  FRENCH 

Publisher 
25  West  45th  Street 


London 


ARE  YOU  A  MASON? 

Ji'aTce  in  3  acts.  By  Leo  Ditrichstein.  7  males,  f  i^ 
aales.    Modern  costumes.    Plays  2^  hours.    1  interior. 

"Are  Yon  a  Mason?"  is  one  of  those  delightful  farces  likci 
"'Charley's  Aunt"  that  are  always  fresh.  "A  iqother  and  • 
daughter,"  says  the  critic  of  the  New  York  Herald,  "had  hu»» 
hands  who  account  for  absences  from,  the  joint  household  ob. 
frequent  evenings,  falsely  pretending  to  '.0e  Masons.  The  men 
do  not  know  bCch  other's  duplicity,  and  each  tells  his  wife  of 
having  advanced  to  leadership  in  his  lodge.  The  older  woman 
was  so  well  pleased  with  her  husband's  supposed  distinction  ii 
the  order  that  she  made  him  promise  to  put  up  the  name  of  • 
visiting  Iriend  for  membership.  Further  perplexity  over  tht 
principal  liar  arose  when  a  suitor  for  his  second  daughter's  handi. 
proved  to  be  a  real  Mason.  ...  To  tell  the  story  of  the  play 
would  require  volumes,  its  complications  are  so  numerous.  It  i£ 
a  house  of  cards.  One  card  wrongly  placed  and  the  whole  thinff 
would  collapse.  But  it  stands,  an  example  of  remarkable  ior 
genuity.  You  wonder  at  the  end  of  the  first  act  how  the  f\m 
can  be  kept  up  on  such  a  slender  foundation.  But  it  continual 
and  grows  to  the  last  curtain."  One  of  the  most  hilariously 
amusing  farces  ever  written,  especially  suited  to  schools  asm 
Masonic  Lodges.     (Royalty,  twenty-five  dollars.)      Price,  7R  OentBb 


KEMPY 

A  delightful  comedy  in  3  acts.  By  -,,  C  Nugeni,  ^nfi 
EDiott  Nugent.  4  males,  4  females.  1  interior  throughout, 
Costumes,  modern.     Plays  2^4  hours. 

No  wonder  "Kempy"  has  been  such  a  tremendous  hit  in  HfeW 
^orfc,  Chicago — wherever  it  has  played.  It  snaps  with  wit  and 
aumor  of  the  most  delightful  kind.  It's  electric.  It's  small- 
{own  folk  perfectly  pictured.  Full  of  types  of  varied  sorts,  eaclt 
one  done  to  a  turn  and  served  with  zestful  sauce.  An  ideal 
entertainment  for  amusement  purposes.  The  story  is  about  a  high" 
falutin'  daughter  who  in  a  fit  of  pique  marries  the  young  plumber° 
architect,  who  come"  to  fix  the  water  pipes,  just  because  ha 
"understands"  he:  Aaving  read  her  book  and  having  sworn  t* 
•marry  the  authoress.  But  in  that  story  lies  all  the  humor  that 
l^ept  the  audience  laughing  every  second  of  every  act.  Of  cours* 
there  are  lots  of  ramifications,  each  of  which  bears  its  own  branl 
of  laughter-making  potentials.  But  the  plot  and  the  story  ar« 
not  the  main  things.  There  is,  for  instance,  the  work  of  At 
company.  The  fun  growing  out  of  this  family  mixup  is  livety  aaiA. 
clean.      (Royalty,  twenty-five  dollars.)  Price,  75  Ceott, 

SAMCTEL  FBEMTCH,  25  West  45tli  Street,  New  York  Cttgr 
Our    Vow    r'atMlovuf    nrill    R«.   Heat    m   Bc*oip»   W   FIt«   Ommm. 


The  Mysterious  Will 


AN  ORIGINAL  PLAYLET 
IN  ONE  ACT 


BY 
HAROLD  SELMAN 


CopYRiGHr.  1914,  BY  Harold  Selman 
Under  the  title  of  "AT  2  A.M." 

Copyright,  19:21,  by  Samuel  French 


All  Rights  Reserved 

CAUTION:  Professioanls  and  amateurs  are  hereliy  warned  that 
'•THE  MYSTERIOUS  WILL."  being  fully  protected  under  the 
copyright  laws  of  the  I'nited  States  of  America,  is  subject  to 
a  royalty,  and  anyone  presenting  the  play  without  the  consen* 
of  the  owners  or  their  authorized  agents  will  be  liable  to  tht 
penalties  by  law  provided.  Applications  for  the  professional  and 
amateur  acting  rights  must  be  made  to  Samuel  French,  25  West 
45th    Street,    New   York.    N.    Y. 


New  York 
SAMURL  FRENCH 

Publisher 
25  West  45th  Street 


London 

SAMUEL  FRENCH,  Ltd. 

26  Southampton  Street 

STRAND,  W.C.2 


THE  MYSTERIOUS  WILL 
All  Rights  Reserved 


Especial  notice  should  be  taken  that  the  possession  of  this 
book  without  a  valid  contract  for  production  first  having 
been  obtained  from  the  publisher  confers  no  right  or  license 
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in  private  for  gain  or  charity. 

In  its  present  form  this  play  is  dedicated  to  the  reading 
public  only,  and  no  performance,  representation,  production, 
recitation,  public  reading,  or  radio  broadcasting  may  be  given 
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This  play  may  be  presented  b}^  amateurs  upon  payment  of 
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infringement  of  the  author's  rights,  as  follows: 

"Section  49(56 : — Any  person  publicly  performing  or  repre- 
Fenting  any  dramatic  or  musical  composition  for  which  copy- 
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assigns,  shall  be  liable  for  damages  thereof,  such  damages  in 
'^!1  cases  to  be  assessed  at  such  sum,  not  less  than  one  hun- 
dred dollars  for  the  first  and  fifty  dollars  for  every  subse- 
^:nent  performance,  as  to  the  court  shall  appear  to  be  just. 
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period  not  exceeding  one  year." — U.  S.  Revised  Statutes : 
Title  60,  Chap.  .3. 


CAST  OF  CHARACTERS  . 

I 

Bett\'  Marsdon Edgar  Winston's  Ward 

Billy  Kent  j    _  ^^        Winston's  Nephews 

DuRKiN  Winston    S  ^  • 


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1 

THE  MYSTERIOUS  WILL 


Scene  :  Plain  interior  doors,  doors  r.  t  and  R.  3, 
L.  I.  French  xinndow  colter.  Table  r.  c.  on 
aline  with  r.  i.  Settee  above  r.  i.  Desk  above 
L.  I.  Chairs  r.  Large  picture  of  an  old  man 
facing  audience  on  fiat  above  l. 

Stage  dark  at  rise,  except  for  blue  light  back 
of  French  window.  Gong  rings  twelve.  A  shot 
is  fired  off  r.  i  and  the  lock  falls  off  the  door. 

Enter  Durkin,  crosses  up  to  c.  d.,  looks 
out — looks  about  room,  closes  door,  puts  settee 
in  front  of  it,  turns  on  lamps — light  up — takes 
a  large  blue  paper  from  his  pocket,  crosses  to 
center. 

Durkin.  Yes,  that's  right.  This  is  the  room. 
(Reads)  "  By  condition  of  this  will  prepared  this 
day  for  me,  Edgar  Winston,  you  are  to  follow  the 
directions  herein  given  implicity."  Well,  that's  a 
fool  of  a  way  to  make  a  will.  (Looks  at  picture 
L.  I.)  There's  his  picture — huh.  (Reads)  "You 
are  to  read  no  farther  ahead  than  one  sentence.  Fol- 
low the  direction,  then  read  the  next."  (Cross  back 
of  table)  Well,  he  left  a  lot  of  money,  so  I'll  follow 
it   because    I    want    it.     What's    my    next    move? 

7 


8  THE  MYSTERIOUS  WILL 

(Reads)  "  You  will  find  at  your  feet  a  chalk  line 
leading  to  a  desk.  Follow  it."  (Looks  at  chalk 
line — he  does  so.  Reads)  "  You  are  now  in  front 
of    a    desk."      You    idiot,    anybody    knows    that. 

(Reads)  "Open  the  desk "  (He  does  so)    "You 

will  find  a  small  black  box."  (Takes  out  box)  Oh, 
this  is  what  he  left  me,  eh?  (Tries  to  open  it, 
reads)  "  Put  the  box  in  your  pocket,  follow  the 
chalk  line  to  the  hall."  (He  crosses  to  door  center) 
"You  are  not  to  move  until  exactly  twelve  fifteen, 
then  follow  the  chalk  line  until  you  reach  the  stajr* 
case."  (Gong  strikes)  That's  it.  (Exits  center  to 
left) 

Billy.      (Appears  at  French  window,   opens  it 
with  key  and  enters.    Looks  at  watch)     Well,  I'm 

on    time — so    far    I'm    right.      Now    let's    see 

(Takes  paper)  "  At  your  feet  you  will  find  a  chalk 
line  leading  to  your  right,  follow  it."  (X  to  table — 
reads)  "  You  are  now  standing  at  a  table." — Well, 
how  did  he  ever  guess  it?  (Reads)  "  Turn  to  your 
left  and  walk  ten  paces."  (He  does  so.  Reads) 
"  You  are  now  ten  steps  from  where  you  were," 
(Looks  at  picture)  Thanks — thanks  for  the  infor- 
mation. (Still  reading)  "  Turn  and  follow  the 
chalk  line  to  the  other  side  of  the  room."  Uncle 
always  did  make  me  walk  the  chalk  line.  (X  to 
wash  stand.  Reads)  "  You  are  now  in  front  of  a 
settee." — Hope  he  asks  me  to  take  a  rest.  (Reads) 
"  Under  the  pillow  you  will  find  a  small  black  box." 
(Looks — takes  up  small  ring  box)  Well,  he  left 
me  something  anyway.  Doesn't  look  like  it  would 
hold  more  than  a  nickel,  but  here  goes.  (Tries  to 
open  it)  No,  it  don't — well,  if  I  ever  make  a  will, 
I'll  put  my  money  in  the  bank,  so  that  people  won't 
have  to  walk  four  miles  into  the  country  to  get  it. 
(Reads)  "  Put  the  box  in  your  pocket,  move  the 
settee  away  from  the  door.    (Moves  settee.    Reads) 


THE  MYSTERIOUS  WILL  9 

Now  follow  the  chalk  line  to  the  hall.  (X  up  to 
c.  dJ  At  12:30  follow  the  hall  to  the  staircase, 
and  from  there  to  the  coal  bin."  I'll  bet  my  next 
move  will  be  to  the  ash  can.  (Goug  rings.  He 
exits) 

Bettv.  (Enters  r.  j.)  Oh,  what  a  weird  idea. 
Why  Mr.  Winston  couldn't  have  given  me  what  he 
wanted  to  without  all  this  trouble,  I  don't  know,  but 
he  said  I'd  get  something  worth  while.  Now  let's 
see.  (Takes  out  paper)  Yes,  it's  right  there — so 
far  things  have  been  just  as  he  said.  I  heard  the 
shot,  and  the  door  was  open  for  me.  (Reads) 
"  You  are  now  standing  at  a  table." — I  am  not. 
(Reads)  Oh,  I  skipped  something.  (Reads)  "W^alk 
four  paces."  (JValks)  "You  are  now  standing  at  a 
table."    (Reads)   "Open  the  drawer  in  the  table  and 

you  will  find  a  key "(Opens  drazver)    Yes,  here 

it  is—"  At  your  feet  you  will  find  a  chalk  line,  fol- 
low it  fifteen  paces  to  your  left "    (She  walks 

fifteen  paces.     Reads)      "Rap  three   times   on  the 

wall "      (She   raps — three    raps    are    anszvered 

from  the  other  side — Screams)  Oh,  the  place  is 
haunted.  I  wish  I  could  have  brought  someone  with 
me,  but  it  says  I  must  come  alone,  and  tell  no  one 
the  conditions  of  this  will.     Well,  I  don't  like  any 

of  it— but (Reads)     "Follow  the  chalk  line  to 

the  hall."  (X  left)  "At  exactly  a  quarter  of  one,  fol- 
low the  hall  to  the  staircase  and "     (Gong  rings) 

I  know  Mr.  Winston  must  have  been  crazy.  (Exits 
center  to  right) 

BiLLV.  (Enters  R.  3 — X  to  c.  FoUoiving  line, 
turns  dozvn  stage  to  center)  Uncle,  you  are  kidding 
me  beautifully,  I  can  see  right  now  you're  not  going 
to  leave  me  a  dollar,  but  why  rub  it  in?  (Reads) 
"  You  will  now  move  the  settee  to  where  you  found 
it  in  front  of  the  door,"  (Moves  stand )  Just  as 
you  say,  Uncle.     If  I  could  have  brought  someone 


io  THE  MYSTERIOUS  WILL 

with  me,  I'd  have  lots  of  fun,  but  I'm  not  to  tell  & 
soul.  (Gong  rings  one)  Gee,  I'm  late.  (Reads. 
Walks  like  soldier  follozuing  line  to  l.  i,  military 
turn,  crosses  to  front  of  desk,  military  turn,  crosses 
to  L.  3,  military  turn,  and  exits) 

DuRKiN.  (Enters  l.  i.  Head  dozvn,  looking  at 
chalk  line)  I  heard  the  rap  all  right,  there  must  be 
someone  else  here.  (Sees  settee)  No,  they  didn't 
come  in  there.  (Turns,  looks  at  picture)  You  old 
idiot !  Well,  he  said  there  was  something  here  for  me 
and  I'm  going  to  find  it.  (Follows  line  to  in  front 
of  table — turns,  follows  chalk  line  to  left — meeting 
Betty  center — they  hump  into  each  other) 

Betty.     (Enters  l.  i.    Screams) 

DuRKiN.     God — Betty  ! 

Betty.  Oh,  I'm  glad  to  see  someone.  ('Durkin 
puts  out  his  arms  as  if  to  take  her)  Even  you. 
fDuRKiN  steps  hack — Both  hide  papers  behind 
them)     What  are  you  doing  here? 

DuRKiN.     I  see  what  it  means  now — it's  you. 

Betty.     Yes,  it's  me,  but   I   don't   see   what  it 

means. 

DuRKiN.     You've  been  sent  here  for  me. 

Betty.  (Turns  and  reads)  No,  I  was  sent  to 
get  something  worth  while. 

DuRKiN.  I've  always  told  you  I  wanted  you— 
now  I  see  Uncle  wanted  me  to  have  you,  too. 

Betty.  I've  always  told  you  I  didn't  want  you, 
and  I  don't  know  what  Uncle  wanted. 

DuRKiN.     He  was  your  guardian. 

Betty.     Yes,  and  I  always  did  what  he  asked. 

DuRKiN.  His  dying  wish  must  have  been  for  us 
to  meet  here  alone  to-night.     (Comes  close  to  her) 

Betty.     If  he  wished  that,  he  ought  to  die. 

DuRKiN.  Oh,  is  that  so.  (X  to  c.  up  stage) 
How  did  you  happen  to  come  here  to-night? 

Betty.     I'm   following  instructions.     I've  made 


TH1<:  AlYSTERtOUS  WILL  II 

lip  my  mind  to  go  through  with  it,  but  if  this  is  the 
way  it's  going  to  turn  out,  I'm  going  to  follow  the 
chalk  line  right  out  that  window.  (Starts  for  win- 
dow,  one  step) 

DuRKTN.  (Stops  Betty)  No,  you're  not ;  you 
don't  want  to  be  left  a  pauper,  do  you? 

Betty.     No. 

DuRKiN.  Well,  if  he's  left  you  money,  you'll 
take  what  goes  with  it.  (Indicating  himself — crosses 
right  in  front  of  table)  He  always  told  me  I 
couldn't  have  you. 

Betty.  (Comes  center)  What  makes  you  think 
he  changed  his  mind? 

DuRKiN.  I'll  tell  you.  When  his  will  was  read, 
I  was  given  a  paper.  I  came  here  to-night  to  follow 
the  instructions  in  it.  The  old  idiot  has  me  chasing 
all  over  the  house.  (The  gong  rings — both  turn 
azvay  to  look  at  wills — they  must  give  a  full  view 
of  center  door) 

Billy.  (Crosses  stage — befzveen  French  ztnndow 
and  center  door,  carrying  a  coal  shovel ) 

DuRKiN.  He  has  timed  every  move,  but  it's  com- 
ing out  all  right.  I've  found  you  and  it's  going  to 
lead  me  to  that  pile  of  mo'''ey. 

Betty.    It's  going  to  lead  me  to  the  insane  asylum. 

DuRKiN.  Now  you're  coming  with  me,  because 
I'm  not  going  to  lose  sight  of  you.  (Comes  to  her, 
center) 

Betty.  Which  way  are  you  going?  (The  gong 
rings — they  both  turn  and  look  at  tvills.  Billy 
crosses  back  of  center  door  with  a  coal  scuttle) 

DuRKiN.  At  one  o'clock  follow  a  line  to  that 
door,  then  I  go  to  the  roof. 

Betty.  (Reads)  I'm  not  going  your  way.  (X 
tip  stage) 

DuRKiN.  Yes  you  are,  because  I'm  going  to  make 
you.    (Takes  one  step  towards  her) 


12  THE  MYSTERIOUS  WILL 

Betty.  (Turns  c.)  Did  you  have  any  love  for 
your  uncle? 

DuRKiN.     No,  I  hated  him,  but  he  didn't  know  it. 

Betty.     You  forged  his  name  once. 

DuRKiN.  Yes,  but  he  let  me  off — he  liked  me, 
that's  all. 

Betty.  And  you  really  think  he  forgave  you 
for  it? 

DuRKiN.  Why,  of  course  he  did,  or  he  would 
not  have  sent  me  here  to-night  to  get  this  money, 
and  had  you  here  for  me  at  the  same  time,  eh? 

Betty.  Maybe  you're  right,  but  he  must  have 
had  an  awful  grudge  against  me. 

DuRKiN.  We're  alone  here,  and  that's  the  way 
I've  always  wanted  you.  Come  here,  Betty,  I  want 
a  kiss.  (Takes  hold  of  Betty — is  about  to  kiss  her. 
Gong  rings  one — both  look  at  tvills) 

Betty.  (X  to  l.  i.  Raps  three  times — raps  re- 
turned— DuRKiN  starts)  Next  time  be  sure  you're 
alone. 

DuRKiN.     Is  there  someone  else  here? 

Betty.  You  can't  prove  it  by  me,  but  you'd  bet- 
ter be  on  your  way  to  the  roof. 

DuRKiN.  (Looks  at  paper)  Yes,  I  can't  lose 
that  money.     (Exits  up  to  c.  d.  and  exits  left) 

Betty.  (Looks  at  paper,  starts  for  l.  i,  looking 
at  floor — turns  right,  follows  line  right) 

Billy.  (Enters  l.  i,  looking  at  floor,  following 
line;  bumps  into  Betty  c.)  Well,  bless  my  soul, 
Betty. 

Betty.     Hello,  which  way  are  you  going? 

Billy.     What? 

Betty.  No,  no,  I  mean — what  I  was  going  to 
say  was  I — I— hello 

Billy.     What  in  the  world  are  you  doing  here'?' 

Betty.  (Starts  as  if  to  tell  him — stops)  I'm 
not  supposed  to  telk 


THE  MYSTERIOUS  WILL  13 

Billy.     Suppose  I  guess? 

Betty.     Well,  /  couldn't  stop  you. 

Billy.  YouVe  trying  to  get  at  the  bottom  of 
something. 

Betty.  Well,  I've  been  to  the  top.  I  may  go  to 
the  bottom  next.    Just  a  minute — I'll  see.     (Reads) 

Billy.     Gee.  I  hope  you're  going  my  way. 

Betty.     So  do  I. 

Billy.  You  do.  (Goes  to  her — Betty  puts  out 
hand,  stops  him) 

Betty.  If  you  were,  I'd  let  you  go  for  me,  and 
I'd  wait  here. 

Billy.     Oh!     (Cross  r.J 

Betty.  Are  you  allowed  to  tell  what  you  came 
for? 

Billy.     No,  but  I  can  tell  you  what  you  came 

Betty.     Can  you  ?     Then  what  ? 

Billy.  You're  following  the  directions  of  Mr. 
Winston's  will,  aren't  you? 

Betty.  (Goes  as  if  to  tell  him — stops)  I'm  not 
going  to  say  yes  or  no,  but  I'll  bet  that's  why  you 
came.     What  do  you  think  you're  going  to  find? 

Billy.  I  don't  care  whether  I  find  anything 
more.    (Goes  to  fake  her  in  his  arms) 

Betsty.     (Stops. him)     Did  you  like  your  uncle? 

Billy.     I  should  say  I  did. 

Betty.  I  loved  him — he  was  about  the  only 
father  I  ever  knew. 

BiLLY.  Well,  no  father  ever  loved  a  girl  any 
more  and  you  can  bet  he's  going  to  see  you're  looked 
after  now  that  he's  gone. 

Betty.  I  hope  he's  considered  my  feelings.  Now 
if  he  wants  me  to  marry  your  cousin  Durkin 

Billy.  No — Durkin  put  him  in  a  hole  at  one 
time  and  he  let  him  off — he  always  said  he'd  pay 
him  back  some  day.     Now  I  don't  think  he'd  turn 


14  THE  MYSTERIOUS  WILL 

about  and  give  him  the  dearest,  sweetest  girl 
in  the  world.  (They  are  about  to  kiss.  Chimes 
ring) 

Billy.  (Both  turn,  read  paper)  Excuse  me  a 
minute.  (Cross  r.  Reads)  "Take  the  box  from 
your  pocket  and  hold  it  in  front  of  you."  (He 
does  it) 

Betty.  "  You  will  find  a  small  black  box  di- 
rectly in  front  of  you — take  the  key  and  open  it." 
(She  opens  box — turns  away) 

Billy.     A  ring (Reads)     "  Put  it  on  the 

third  finger  of  the  left  hand  of  the  first  woman  you 
see."  I  saw  you  first!  (Puts  ring  on  her  finger. 
Reads)  "  Now  kiss  her."  I  wonder  if  she'll  let 
me — Well,  I  have  to  take  a  chance,  uncle  says  so., 

Betty.  (Reads)  "  Allow  yourself  to  be  kissed." 
(Billy  crosses  to  her  c. — finds  her  waiting  to  be 
kissed.  They  kiss.  Reads)  "  Follow  the  chalk  line.*, 
to  your  hall."  (X  up  stage  to  c,  turns  to  l.,  turns 
again  to  l.  to  c.  entrance,  reads)  "  Now  follow  on 
to  the  cellar."  Billy,  I'm  getting  at  the  bottom  of- 
it.     (Exits  R.  I.J 

Billy.  Give  my  regards  to  the  coal  bin.  (Looks 
at  picture)  Uncle,  you  grand  old  man,  you've  made 
life  worth  living. 

DuRKiN.     (Off  L.  I.)     You  don't  say  so. 

Billy.    Good  Lord  !    (Turns  to  r.  front  of  table) 

DuRKiN.  (Enters  reading)  '*  When  you  have 
said,  *  you  don't  say  so,'  come  to  the  center  of  the 
room."     (Xtoc.) 

Billy.     Hello,  Durk ! 

Durktn.  (Starts)  So  you  had  to  butt  in  too, 
eh? 

Billy.    I'm  here,  if  that's  what  you  mean. 

DuRKiN.  Now  I  know  uncle  was  crazy.  Do 
you  know  that  Betty's  here?     (Comes  r.  to  him) 

Billy.     Yes. 


THE  MYSTERIOUS  WILL  15 

DuRKiN.  Did  she  come  with  you — did  she? 
Well,  she  won't  go  away  with  you. 

Billy.     Why? 

DuRKiN.  Because  she's  jading  with  me — now 
take  my  advice  and  get  to  the  end  of  your  business 
here  as  quick  as  you  can. 

Billy.  (Turns,  looks  of  will)  I  don't  even  move 
till  I  :3o. 

DuRKiN.     Oh,  you're  in  on  the  will  too,  are  you? 

Billy.     I'm  in  on  the  preliminaries. 

DuRKiN.  That's  as  far  as  you'll  get.  He 
wouldn't  leave  you  anything.  You're  on  the  wrong 
side  of  the  family. 

Billy.  Well,  you're  on  the  right  side — ^you  ought 
to  get  it  all. 

DuRKiN.  You  bet  I  will.  (X  to  l.,  stops  at  end 
of  Billy's  speech  zvith  a  quick  turn) 

Billy.  You  took  some  of  it  before  he  even 
died,  didn't  you? 

DuRKiN.     What  do  you  mean  ? 

Billy.     W^hy,  that  check  you 

DuRKiN.     Don't    you    ever    mention    that    again 

or (Reaches  for  gun.     Gong  rings.    Both  look 

at  papers) 

Betty.  (Enters  c,  carrying  large  money  bag, 
places  it  on  table)  There  it  is,  all  Mr.  Winston 
owned — turned  into  gold. 

DuRKiN.  (Starts  for  money.  Betty  has  her 
hands  on  bag — Durkin  puts  his  hands  on  top  of 
hers — Betty  throws  him  off) 

Betty.  W^ait  a  minute,  does  it  say  anything  there 
about  you  grabbing  it? 

Durkin.  (Turns  and  looks  at  zmll)  No,  but  you 
can  bet  I'm  going  to  get  what's  coming  to  me. 

Betty.  That  was  his  motto (Points  to  pic- 
ture)    Everybody '11  get  what's  coming  to  them. 

Durkin.      (To   Billyj     Well   then,   you   know 


i6  THE  MYSTERIOUS  WILL 

what's  coming  to  you,  don't  you?     (Coming  doivn 
stage,  rolls  up  sleeve) 

Billy.  No,  I  haven't  looked  that  far  ahead.  Is 
that  in  there?    (Looks  at  ivill) 

DuRKiN.  It's  a  good  thing  we've  all  met  here 
to-night — now  we  can  settle  this  thing  once  and  for 
all. 

Betty.     Let  uncle  settle  it. 

DuRKiN.  (Back  of  Betty — Over  her  shoulder) 
But  first  I  want  to  tell  you,  as  I've  always  told  you, 
you  belong  to  me. 

Betty.     You'll  begin  to  believe  that  after  a  while. 
DuRKiN.     I'll  always  be  where  you  are — if  you 
marry  another  man,  I'll  kill  him.     (Slaps  hand  on 
table,  looks  at  Billyj 

Betty.     I'd  love  to  be  a  widow. 

Billy.     Yes,  that  would  be  nice (Starts) 

What?    It  was  my  uncle's  greatest  wish  to  see  her 

happy 

DuRKiN.    Yes.    (X  to  c.) 

Billy.  I  guess  he  must  have  figured  out  the  way 
before  he  died. 

DuRKiN.  Sure  he  did — he  knew  the  way  it  had 
to  be,  because  I  told  him  I'd  make  her  life  miserable 
if  she  didn't  marry  me.    (Points  finger  at  her) 

Betty.  (Points  finger  at  him)  And  I  told  him 
you'd  make  it  miserable  if  you  did. 

DuRKiN.     What's  that  on  your  finger? 
Betty.     You  mean  my  finger  nail? 
DuRKiN.     No,  I  mean  that  ring — who  gave  it  to 
you? 

Billy.     I  did. 

DuRKiN.     (Laughs)    Well,  that's  funny. 
Billy.     (Lmitates  his  laugh)     It  was  funny  to 
me  too,  but  there's  a  lot  of  funny  things  going  on 
here. 


THE  MYSTERIOUS  WILL  i; 

DuRKiN.  All  right,  go  ahead  and  get  married. 
(Up  to  c.  D.j 

Betty.  Oh,  isn't  he  nice — we  have  his  consent. 
(To  front  of  table) 

DuRKiN.  (Comes  back  down  stage  to  them) 
But  I'll  come  to  live  with  you  just  to  keep  you  com- 
pany. 

Betty.     That'll  be  nice. 

Billy.     Oh,  that  will  be  lovely. 

DuRKiN.     What  are  you  going  to  live  on? 

Betty.  Oh,  bacon  and  eggs  for  breakfast,  soup, 
fish  and  meat  for  dinner  and 

DuRKiN.     What  do  you  buy  it  with? 

Betty.  (X  back  to  table — points  to  bag)  This, 
I  guess. 

DuRKiN.  Well,  I'm  not  taking  any  chances  on 
this  will,  so  I'll  just  make  sure  of  my  end  to  take 
this  now.  (All  get  their  hands  on  bag  at  same 
time) 

Billy.     You  leave  that  alone. 

DuRKiN.  (Draws  gun)  You  don't  think  I'm 
going  to  let  that  out  of  my  sight,  do  you? 

Betty.  Do  you  think  your  uncle  wanted  you  to 
have  it?  (Gong  rings — all  leave  bag.  All  look  at 
papers) 

All.  (Together)  Yes,  he  did!  (All  look  at 
one  another) 

Billy.  (Follows  chalk  line  in  front  of  table  to 
c,  turns  up  stage.  Durkin  is  standing  on  line. 
Shoves  him)     Oh,  get  ofif  the  chalk  line.     (Exits 

Betty.  (Follows  line  to  left.  Durkin  xs  stand- 
ing on  it)    Oh,  get  out  of  my  way.     (Exit  l.  i  j 

Durkin.  By  Jove,  it's  all  coming  my  way. 
(Reads)  "  Put  the  bag  out  the  window  and  take 
it  with  you  when  you  leave."     (Goes  out  window) 

Betty.      (Enters  i...with  ticket)      A  ticket  to 


i8  THE  MYSTERIOUS  WILL 

South  Africa.    I  wonder  what  that's  for.    (Reads) 
"  Give  it  to  the  first  man  you  see." 
DuRKiN.     (Enters  through  ivindozv) 
Betty.     Well,  he  looks  like  a  man — I'll  give  it 
to  him.     (Gives  ticket  to  Durkin  ;  he  looks  at  if) 
DuRKiN.     Betty,   we're  going  to   live   in    South 
Africa. 

Betty.     Do  we  both  go  on  the  one  ticket  ? 
Durkin.     Don't  worry — another  one   will   turn 
up. 

Betty,     Where  do  you  think  Billy  will  go  ? 

Durkin.     He  can  go  to 

Betty.     That'll    be    much    warmer    than    South 
Africa. 

Durkin.     You  don't  think  I'd  let  him  have  you, 
do  you? 

Betty.     You    should   be    satisfied   you   got    the 
money  and  a  ticket  out  of  the  country. 

Durkin.     I'm  satisfied,  but  I'm  waiting  for  your 
ticket.     (Crosses  in  front  of  desk) 

Billy.      (Enters    c.    zvith    tiuo    tickets,    reads) 
"  Keep  one  yourself  and  give  one  to  the  first  woman 

you    see."      Here,    woman (Gives    ticket    to 

Betty  J 

Durkin.      (Comes  between  them)     Ah,   there's 
your  ticket  now. 

Billy.     I've  got  one,  too. 
Durkin.     To  where? 
Billy.     Coney  Island. 

Durkin.    (Laughs)    That's  a  good  place  for  you. 
Betty's  going  with  me. 

Billy.     No,  she  isn't.    (Argument — ad  lib) 
Betty.     Fight  it  out,  boys,  I've  got  nothing  to 

^'  (All  look  at  papers) 

Durkin.    "Take  the  box  out  of  your  pocket  and 
hold  it  directly  in  front  of  you." 


THE  MYSTERIOUS  WILL  19 

Betty.  "Take  the  key  and  open  the  box  you  see 
in  front  of  you " 

Billy.  "Watch  carefully  what  this  box  contains." 
('Betty  opens  box,  Durkin  takes  out  revolver) 

DuRKiN.  (Reads)  "  Give  the  revolver  you 
brought  with  you  to  the  first  woman  you  see." 
(Takes  gun  out  of  hip  pocket  and  gives  it  to  Betty. 
Durkin  keeps  the  gun  he  takes  out  of  box,  they 
both  turn  and  point  guns  at  Billyj  Looks  like 
uncle  wasn't  taking  any  chances  with  you.  ("Billy 
crosses  to  c.  reading,  sees  guns,  turns  r.J 

Billy.     Wasn't  that  nice  of  uncle. 

Durkin.  Now  we're  going.  (Takes  Betty  by 
arm)     Come  on. 

Betty.  Don't  be  so  previous — why  don't  you 
wait? 

Durkin.  I've  got  all  I  want,  you  and  the  money, 
come  on. 

Billy.  Take  your  hands  off  her.  (Reading 
paper) 

Durkin.     (Looks  at  paper)     No. 

Billy.  Then  I'll  make  you.  (Starts  for  him — 
back  of  table) 

Durkin.  (Fires  at  him — Billy  falls  back  of 
table) 

Betty.     (Screams)    What  have  you  done? 

Durkin.  Just  what  uncle  told  me  to — read  it. 
(Sho7vs  her  paper) 

Betty.  Nevertheless,  you're  a  murderer,  and  I'm 
a  witness  to  it. 

Durkin.  Yes,  but  you  won't  tell — we'll  be  in 
South  Africa  before  anyone  knows.  (X  front  of 
table) 

Betty.     Do  you  think  I'd  go  with  you? 

Durkin.  I  know  you  will.  Uncle  put  this  in 
my  hand  to  have  that  done — now  you're  coming  if 


20  THE  MYSTERIOUS  WILL 

I  have  to  take  you  at  the  point  of  it.  (Starts  to 
raise  gun — Betty  covers  him  first.) 

Betty.  But  don't  forget  uncle  put  one  in  my 
hand,  too.  (Covers  him  with  gun)  Now,  there!s 
just  one  chance  for  you — you're  a  murderer ;  get 
out  of  the  country  or  I'll  tell  the  truth  and . 

DuRKiN.     You  wouldn't ! 

Betty.  Wouldn't  I  ?  I'd  be  only  too  glad.  I've 
scarcely  known  a  happy  moment  since  I  first,  saw 
you,  but  I'm  going  to  find  happiness  now,  because 
I'm  never  going  to  see  you  again.  If  you  ever  come 
back,  I'll  send  you  to  the  chair. 

DuRKiN.  No,  no — I  only  did  what  uncle  told 
me  to. 

Betty.  That  would  be  a  poor  excuse  in  court. 
You've  only  got  one  chance — go  away-^leave  tha.t 
gun  beside  him,  I'll  say  it  was  suicide. 

DuRKiN.    (Drops  gun)    You  will?  ,,^.v. 

Betty.  Yes.  ^Durkin  goes  above  Billy,  fiuts 
gun  beside  him)  ,  ,_  . 

DuRKiN.  I  don't  know  what  the  old  fool,  meant 
by  it  all.  .',-*v-'- 

Betty.  That  can't  matter  now.  Take  the  bag 
with  you,  get  the  first  boat  for  South  Africa  and 
never  come  back  again.  >-    [  ....• 

DuRKiN.  (Comes  to  her)  And  you  promise  not 
to  tell? 

Betty.     I  promise ! 

DuRKiN.  (To  c.)  Well,  I'm  glad  I  got  him — 
anyway,  this  is  the  last  you'll  ever  see  of  me.  (Exits 
through  ivindozn') 

Betty.  (Crosses  up  to  window,  look^^^after  Dur- 
KiN — long  pause)     ...     ....   •<;  >    ,.>'. 

Billy.    (Still  lying  on  floor)    Has  he  gone  ? 

Betty.     Yes,  he's  gone,  get  up. 

Billy.     (Sits  up,  looks  at  will.     Reads)     "You 


THE  MYSTERIOUS  WILL  21 

are  not  dead."  (Rises,  comes  to  l.  feeling  himself, 
etc.)     That's  one  part  of  this  1  (Wdn't  Hke. 

Betty.  How  wou'd  you  like  it  if  he  used  this 
one?     (Shozvs  other  gun)     It  has  real  hullets  i-  it. 

Billy.  (Lays  gun  on  tabic)  I'm  glad  he  didn't 
get  them  mixed. 

Betty.  (Reads)  "  It  was  the  only  way,  children. 
Now  Durkin  will  never  bother  you  again.  Don't  be 
sorry,  he  took  the  bag — it  was  only  full  of  pennies. 

BiLLN'.  We  should  be  pretty  happy,  Betty,  even 
if  we  didn't  have  any  money.     We  have  us  and 

Betty.     And  two  tickets  to  Corey  Island. 

Billy.  Is  yours  to  Coney  Island,  too?  (Both  sit 
on  settee  under  picture)  Thank  you,  dear  old  Mr. 
Winston — you've  made  us  happy,  even  if  you  didn't 
leave  us  a  cent. 

(Chiines  ring  2 — sound  of  machinery  working  he- 
hind  picture.  The  string  is  pulled,  opening  the  bot- 
tom of  picture,  a  pile  of  loose  bills  fall  over  them. 
Billy  and  Betty  look  at  all  the  money.) 

Billy.     Betty,  look  at  all  the  money. 

CURTAIN 

(Second  Curtain — Betty  holding  dress,  Billy 
pulling  money  in  it.) 


22  THE  MYSTERIOUS  WILL 


PROPERTIES 

Old  fashioned  furniture. 

1  Library  table   (with  drawer). 

2  Settees. 

I   Ladies'  writing  desk. 

3  Chairs. 
Grandfather's  clock. 

1  Small  table  with  lamp  on  it. 

2  Pedestals  with  palms. 
I  Large  coal  scoop. 

1  Coal  scuttle. 

4  Sofa  Pillows. 

3  Wills,  the  regulation  size,  with  blue  covers  and 

three  sheets  of  legal  paper  in  each. 

2  Shure-fire  revolvers. 
Blank  shells  for  revolvers. 

I  Small  box  in  which  a  revolver  will  fit. 

I   Ring  box. 

I   Ring. 

I   Small  key,  supposed  to  fit  both  the  boxes. 

I  Cloth  bag,  supposed  to  be  filled  with  gold.  It 
should  be  8  or  lo  inches  high  and  be  tied  wit'- 
red  tape  at  the  top  and  sealed  with  a  red  sea^ 

1  Gong  and  padded  hammer  to  strike  it. 

2  Small  railroad  tickets. 

I   Long  strip  ticket  or  steamship  ticket. 

I   Lock. 

T   Picture  of  n^-'  old  man  in  a  shadow  frame.     This 

picture  should  be  20  by  30.     See  diagram. 
200  Pieces  of  stage  money. 
Several  old-fashioned  pictures. 


1  REGIONAL 


HBRARV  f '^C'UTV 


\f^    000  499  081 


MRS    PARTRIDGE  PRESENTS 

ilomedy  in  3  acts.  By  Mary  Kennedy  and  Ruth  HaW" 
tthorne.  6  males,  6  females.  Modern  costumes,  2  interiors 
Plays  2%  hours. 

The  characters,  scenes  and  sitnations  are  thorougniy  up-ik, 
dtBte  in  this  altogether  delightful  American  comedy.  The  heroint' 
fit  a  woman  of  tremendous  energy,  who  manages  a  business — a* 
she  manages  everything — with  great  success,  and  at  home  pre 
sides  over  the  destinies  of  a  growing  son  and  daughter.  Hei 
Struggle  to  give  the  children  the  opportunities  she  herself  had 
missed,  and  the  children's  ultimate  revolt  against  her  well-meant 
management — that  is  the  basis  of  the  plot.  The  son  who  is  cast 
fer  the  part  of  artist  and  the  daughter  who  is  to  go  on  the  stage 
offer  numerous  opportunities  lor  the  development  of  the  comi' 
possibilities  in  the  theme.  * 

The  play  is  one  of  the  most  delightful,  yet  thought-provoking 
American  comedies  of  recent  years,  and  is  warmly  recommendpn 
to  all  amateur  groups.     (Eoyalty  on  application.)     Price,  75  Ceni.- 


IN   THE   NEXT  ROOM 

Melodrama  in  3  acts.  By  Eleanor  Eobson  and  Harriet 
Tord.  8  males,  3  females.  2  interiors.  Modern  costumes 
Plays  2%  hours. 

"Philip  Vantine  has  bought  a  rare  copy  of  an  original  BouU 
cabinet  and  ordered  it  shipped  to  his  New  York  home  from  Paris 
When  it  arrives  it  is  found  to  be  the  original  itself,  the  pos^ 
session  of  which  is  desired  by  many  strange  people.  Before  the 
mysterj  concerned  with  the  cabinet's  shipment  can  be  cleared! 
mp,  two  persons  meet  mysterious  death  fooling  with  it  and  thgi 
happiness  of  many  otherwise  happy  actors  is  threatened"  (Burns 
Mantle).  A  first-rate  mystery  play,  comprising  all  the  elements 
of  suspense,  curiosity,  comedy  and  drama.  "In  the  Next  Room'" 
Is  quite  easy  to  stage.  It  can  be  unreservedly  recommended  to 
ihigh     Bchools    and     colleges^       (Boyalty,     twenty-five     dollars.) 

Price,  75  Cents. 


SA^STTEL  FBENCH,  25  West  45tli  Street,  New  York  City 
•v   New    0*tiU*v«*    WtU    B«    teat   m    KamIvS   a( 


MRS.   WIGGS   OF    THE 
CABBAGE   PATCH 

dramatization  in  3  acts,  by  Anne  Crawford  Flexner  froOk 
the  novel   by    Alice   Hegan   Eice.     15    males,    11   females. 

1  interior,  1  exterior.     Costumes  modern  and  rustic.     Plays 

a  full  evening. 

A  capital  dramatization  of  the  ever-beloved  Mrs.  Wiggs  and 
her  friends,  people  who  have  entered  the  hearts  and.  minds  of  a 
nation.  Mrs.  Schultz  and  Lovey  Mary,  the  pessimistic  Miss  Hazy 
and  the  others  need  no  new  introduction.  Here  is  characteriza- 
tion, humor,  pathos,  and  what  is  best  and  most  appealing  in 
modern  American  life.  The  amateur  acting  rights  are  reserved 
for  the  present  in  all  cities  and  towns  where  there  are  stock 
companies.  Royalty  will  be  quoted  on  application  for  those  cities 
bnd  towns  where   it  may  be   presented  by  amateurs. 

•  Price,  75  Cents. 

THE   FOUR-FLUSHER 

Comedy  in  3  acts.    By  Caesar  Dunn.     8  males,  5  females. 

2  interiors.    Modern  costumes.     Plays  2i/i  hours. 

A  comedy  of  hustling  American  youth,  "The  Four-Flusher' ""  is 
one  of  those  clean  and  bright  plays  which  reveal  the  most  appeal- 
ing characteristics  of  our  native  types.  Here  is  an  amusing  story 
of  a  young  shoe  clerk  who  through  cleverness,  personality,  and 
plenty  of  wholesome  faith  in  himself,  becomes  a  millionaire.  The 
play  is  best  described  as  "breezy."  It  is  full  of  human  touches, 
and  develops  a  most  interesting  story.  It  may  be  whole-heartedly 
racommended  to  high   schools.      (Royalty,   twenty-five   dollars.) 

Price,  75  Cents. 


PALS  FIRST 


Comedy  in  a  prologue  and  3  acts.  By  Lee  Wilson  Dodd. 
8  males,  3  females.  1  interior,  1  exterior.  Modern  cos- 
tumes.   Plays  2y2  hours. 

Based  on  the  successful  novel  of  the  same  name  by  F.  P. 
Elliott,  "Pals  First"  is  a  decidedly  picturesque  mystery  play. 
Danny  and  the  Dominie,  a  pair  of  tramps,  enter  a  mansion  and 
persuade  the  servants  and  friends  that  they  belong  there.  They 
are  not  altogether  wrong,  though  it  requires  the  intervention  of 
a  judge,  two  detectives,  a  villain  and  an  attractive  girl  to  un- 
tangle the  complications.  A  most  ingenious  play,  well  adapted 
to  performance  by  high  schools  and  colleges.  (Royalty,  twenty- 
five  dollars.)  Price,  75  Cents. 

SAMUBI.  FKENOH,  25  West  45tli  Street,  Kew  York  City 
Oar   Kew    Oatalorne   Will    Be    Sent   on   Receipt   of   Five    CtniM. 


